'Doorways' (2015) – Steven Murphy.

Off to a somewhat clunky, inauspicious start, independent film-maker Steven Murphy's visibly low budget feature debut 'Doorways' appears no less rough around the edges than the bad-luck, downwardly spiralling bouncer Gary (Steven Murphy) is certainly not without some awkward D.I.Y charm. The basic plot concerns the burgeoning fitful friendship between a violent, manic depressive bouncer Gary and timorous soft young lad 'Harry Potter' (Jonathan Ciardini) whose foolhardy plan to toughen himself up by working the doors merely exacerbates his insecurities and draws him into an increasingly brutal twilight world he is both physically and emotionally unsuited for. Throw in some cursory love interest with pretty/flighty/boozy/feisty barmaid Jenna (Maria Theresa Rodriguez), some soapy theatrics about 'Harry Potter's' wishy-washy old man struggling to cope with the neighbours and a bizarrely hyperbolic climax that seems to belong to an entirely differing film!

On the plus side, the sparky Maria Theresa Rodriguez delivers a very natural performance, and is consistently fun to watch, but poor old dorky doorman Ciardini struggles to assert himself, his gobby bezzie mayte Baldwin (Todd Van Joel) fares better, but he ultimately comes across as an asinine khunt, admittedly the burly, sour-faced brawler Murphy exudes some toxic alpha energy, with some of his more boisterous scenes are entertainingly bellicose, 'Doorways' is undone by its undeveloped script and equally impoverished acting. While a noble attempt at fashioning a gritty drama on a penurious budget, I couldn't fully engage with the film, or, sadly, care two hoots about any of the protagonists plight. That being said, I still heartily commend Steven Murphy and his hard-working crew on having the gumption to get their film made and into the public arena.

 

 

'Claws' (1977) - Richard Bansbach and Robert E. Pearson.

A rampaging outsized Grizzly bear goes on a seemingly unstoppable kill frenzy in the vast unforgiving mountainous expanses of Alaska after skeevey opportunistic poachers fail to bring him down. While 'Claws' is not quite as monstrously great as William Girdler's 'Grizzly', the fun, cannily stock-footage-laden, fuzzy-headed 'Claws' is an amiable enough 'Jaws' cash-in, with the elephantine, blood-hungry bear soon being regarded as an altogether more malevolent entity, an ancient vengeful evil named 'Kush-Ta-Kah', and it will take likeable character actor Jason 'The Brain That Wouldn't Die' Evers enviable ability to charismatically channel Armand Assante and Sly Stallone at the same time in order to heroically slay the titanically toothsome terror which has caused him so much personal tragedy.

A mystically marauding bear with beady Baphomet eyes that eerily leaves no tracks, unless it wants to, can out-think hokey analogue tracking tech, and, to be fair, it also has a wickedly murderous knack for unleashing a supernaturally silent, super-deadly side tackle! On a more personal note, I would have appreciated a wee bit more of Myron Healey, being one of the enigmatic cinematic heavies, but full marks are due to music maestros Gene Kaver and Douglas lackey for their atmospheric, splendidly effective score! I could well be in the minority here, but, for me at least, this is one especially clawsome 1970s monster movie that unequivocally proves that bears do far more than just sh*t in the woods! Grindhouse fans may care to note that 'Claws' co-director Robert E. Pearson was also the memorably majestic skeezer in Stu Segall's iconic slasher grunge-fest 'Drive-In Massacre'. Right on!

 

 

 

 

'Beyond The Curtain' (1960) – Compton Bennett.

Able journeyman director Compton Bennett reveals some considerable cinematic flair by nimbly orchestrating a goodly number of pulse-poundingly exciting scenes in his intense, competently made, consistently gripping 1960s thriller 'Beyond The Curtain'. Fortuitously working from an effectively lean, unfussy text by Bennett, Charles B. Blair and John Cresswell the pacey, frequently dark thriller finds beautiful, latterly emancipated East German-born Karin (Eva Bartok) in a fraught, emotionally complex dilemma, being recaptured by the conspicuously ominous East German police, as due to turbulence her flight was forced to fatefully cross Russian airspace.

Working for an American airline offers poor Karin no immunity, so her handsome fiancé pilot Richard Greene, desperate to be reunited with his beloved bride-to-be must heroically contrive a daring, increasingly dangerous plot to get her back into his loving, tweed-covered arms! Ostensibly a 'get the good German out of the zealous totalitarian clutches of the DDR' potboiler, but is entertainingly performed with exceptional brio by a wonderful cast, with a deliciously duplicitous turn by mean ol' Marius Goring as the traitorous, deeply conflicted Doctor Hans. It must also be strongly noted that plainly talented D.o.P Eric Cross seems most adept at composing crepuscular, doom-laden night shots. 'Beyond The Curtain' comes very highly recommended as some splendidly rousing cold war-era entertainment! 

Hammer Films fans might like to know that the delightful Andree 'Brides of Dracula' Melly is no less scintillating as the courageous anti-communist Linda.